About the analytic
literary exposition of the film "Farewell My Concubine"
If you examine the space connected by frames in "Farewell My Concubine", Chen Kaige will extend the story time of his film from the 1924 period of the reign of the Beiyang warlords to after the Cultural Revolution. Modern history spanning more than half a century. Here history is used as the background for the encounters of the characters, and the dramatic changes in time are incorporated into the influence space. The various audiovisual elements in "Farewell My Concubine" and the creator's thoughts have been selected, refined, and recombined to form the so-called classic masterpiece of the film.
Accompanied by the Peking Opera drumbeats of "锵…………." and melancholic background music, a section of Erhu "Ehhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh and a melancholic background music From the beginning of the Republic of China, this film spanned a series of history during the Kuomintang period, the War of Resistance, the Liberation, the Cultural Revolution, and the vindication. Cheng Dieyi and Duan Xiaolou also survived the ups and downs. It's true: A hundred years of awakening was originally Nan Ke Yimeng.
At the beginning of the film, it was the midfielder of the stadium without lighting. Standing in the late Duan Xiaolou, the same late but still infatuated Cheng Dieyi came in. At the end, it was still such a scene, such a person, the twists and turns and difficulties between them, we have already seen it. So the one who turned around sighed to himself, we were not surprised, but in the face of the doomed tragedy, we still couldn't help but sigh.
In Beijing in 1924, a mother who was a prostitute brought her 9-year-old son Dieyi to Guanjia Science Class, begging to take him in to learn Peking Opera. Under the subtle penetration of the theater environment, Xiaodouzi finally accepted the role of "Jiao'e". Slowly, Cheng Dieyi's heart changed, and he felt confused about his identity. Dieyi and Xiaolou have been good brothers since they were young, and their co-star "Farewell My Concubine" made a sensation in the capital. During the Anti-Japanese War, Xiaolou married the brothel woman Juxian, and Dieyi felt lonely. After the liberation, the two performed again and the Cultural Revolution began. Xiaolou exposed Dieyi's crimes under tremendous pressure, and Dieyi also revealed Juxian's life experience in despair. Juxian hanged herself. And 11 years later, they collaborated for the last time in the swan song of "Farewell My Concubine"... the
character analysis of the film
Xiaodouzi always appeared in a state of silence and thinking. Xiaodouzi understands the principles of singing and being a person "from the end". He would rather die than sing "I am a female Jiao'e", completely revealing his stubborn nature. But when Little Stone stabbed him in the mouth with a pipe, the last line of defense of this belief also collapsed. Xiaodouzi, who finally sang "I am a female Jiao'e", has completely entered another personality, Xiaodouzi has moved towards the other end with the same persistence. Because he is not insane or adult, and lacks consideration of all reality, he only hopes that He Duan Xiaolou will play forever and continue to act. From the first time I slept with my senior brother in Xiao Dongye to the first time I sang "Farewell My Concubine" with the senior brother, Xiaodouzi knew that he wanted to be the Yuji for a lifetime and stay with the overlord. So when he was performing solo "The Drunken Concubine", it was Yuhuan's body that fell on the stage, but Yu Ji's despair appeared on his face. Eleven years later, after finally waiting for the reunion, Duan Xiaolou was not the kind of person he had imagined, nor the kind of person he had hoped for. Decades of obsession was crushed by epiphany at this moment.
Little Stone tells the story of Grand Master, a character who gradually succumbed to social order. He experienced the change of personnel and showed the same submission, courtesy, and flattery when he was old as in the first scene of the film. Duan Xiaolou is the most realistic. He can distinguish between drama and life early in the morning. What the master said is "to the end", to him is just a rhetoric. Unlike Cheng Dieyi, he played the Overlord for decades, but he didn't really learn how to be a Overlord. He asked Yuan Shiqing to save Cheng Dieyi, but only a helpless face was left; not to mention the two who betrayed his closest relatives under the intimidation of the revolutionary young general. In the end it just ended.
In most of the film, Master Guan has a strong voice and expression, sometimes flattery and courteous, with both superego pursuit and self-repression as well as self-release.
Through the contradiction between homosexuality and heterosexuality of the three protagonists, the film integrates their destiny and historical background, showing their emotional entanglement and intercourse. Dieyi has relied on his senior brother Xiaolou since he was a child, and this dependence has evolved into a kind of love, but Xiaolouhui's feelings towards him appear ambiguous and vague. The heterosexual relationship between Xiaolou and Juxian is also more obvious. Xiaolou is always in a vague state, perhaps because of fear. This fear was more obvious during the Cultural Revolution. However, this contradiction is still painted with a tragic color with the end of life.
Director's Statement
Director Chen Kaige's film breaks through the norms of traditional narration. His films attach importance to the treatment of the movement of the characters on the screen, emphasize the non-traditional narrative method of visual modeling, and the plot of the story is watered down, but deliberately pursues subjectivity, symbolism, and meaning.
As a director, Chen Kaige has been very successful in the control and processing of image flavor. One is the long-distance front-to-back follow-up of the characters’ running motions in the main scene, which not only fully shows the realistic space setting, but also allows the audience to feel a certain kind of on-site experience of the parties; The focus is highly concentrated; the rhythm of the film is strengthened, and the relaxation of the rhythm can guide and adjust the audience's attention, avoid tediousness, and establish a clear grammatical style of the film. Moreover, the effects of different long shots and shooting passages are not the same: like at the beginning of the film, the "Overlord" and "Yuji" walked into the stadium slowly. The long aisle and the relatively fixed shooting distance make this One of the sports shots produced a heavy depression of "taking stillness while moving", which suddenly brought people into a decadent atmosphere that is difficult to distinguish between reality and illusion. In another scene, Xiaodouzi was cut off by her mother's finger. The pain was unbearable. He screamed while running in the theater. The rest of the characters also moved rapidly in different depths of field. The fierce and violent picture processing was matched with heart-piercing screams. The first thing to do is to show the difficulty and harshness of learning opera.
The photographer explained that
because the characters in the film are often in a hysterical emotional state, there are too many reasons for the photographer to use exaggerated and distorted short focal length lenses, but Gu Changwei starts with the use of color to highlight the mood of the picture, and he can be said to be a self-contained family. For example, during a "blind date" in Huamanlou, the overwhelming red tones can almost ignite the screen; while the scenes of Cheng Dieyi and Yuan Siye's dress-up sex scenes use a cool and gloomy tone with a light smoke effect. The expressionist high-contrast lighting, as well as the light splitting and chasing of simulated stage effects can be seen in many places in the film, reflecting Gu Changwei's deep image control ability and rich experience in image creation. What is particularly rare is that he is also an excellent photographer who can grasp the director's intentions and is delicate and sensitive. Gu Changwei can just make up and polish it, using the light and color details in many places in the film to set off the subtle psychological changes of the characters and give the viewer a lot of aftertaste.
In order to complement Gu Changwei's wonderful photography, Chen Kaige often deliberately went against the convention in his editing techniques, making dynamic and static or static and dynamic jump assembly, the contrast is strong, and there is no lack of discoloration and shock; mirror language The sound is accurate and ruthless, and the sudden intrusion of the speakers is fierce and compelling.
Lighting technology analysis
"Farewell My Concubine" uses light to make people look quite comfortable. It is neither a single, cold dullness nor an absolute warm tone. It is somewhere in between. On the one hand, it expresses the decline of the old Chinese era as much as possible. On the other hand, it achieves enough warm tones when photographing the characters, so that the characters look non-uniform and bloody. In the tone processing, try to take care of the emotions of the characters in the scene. For example: on the eve of the Cultural Revolution, the homes of Juxian and Duan Xiaolou compared their bridal chambers when they were first married. This comparison played a great role in explaining the audience's time and environment. In addition, the first half of the film depicts the faces of Xiaodouzi, Xiaozizi, and Xiaoshi. The camera positions are all at a 45-degree angle. The light is also simulated as much as possible to natural light, hitting half of the face. As time changes, the characterization begins to Shooting directly in front is the main: the effect of this is to use the effect of light. The faces of children are gradually unfolding and becoming clear, which is very story-telling. This is a means for creators to control the story. Just right.
Lens technical analysis
The lens is the art of the photographer, including the front light. And all the film and television elements are like a carriage, and the director is the coachman. The photographer of this film is Gu Changwei. From the beauty of the lens of the film, I know the skills and intentions of Gu Dao. Because the characters in the film are often in a hysterical emotional state, photographers really have too much reason to use special exaggerated, distorted short focal length lenses, such as a "blind date" in a full house, and the overwhelming red tones can almost The screen is lit; while the scenes of Cheng Dieyi and Yuan Siye posing and molesting are in a cool and gloomy tone, coupled with a faint smoke effect-the male and the female are inseparable, the true and the false, and the sentiment is blurred. There are many places in the film that reflect Gu Changwei's profound image control ability and rich experience in image creation. What is particularly rare is that he is also an excellent photographer who can grasp the director's intentions and is delicate and sensitive. It turns out that Chen Kaige’s consistent directing style usually biases the actors’ performances towards abstract rationality. Therefore, the emotional expression of the characters tends to flow in thick lines. Gu Changwei can just make up and polish them. In this film, the light and color details are used to set off the characters. The subtle psychological changes give viewers a lot of aftertaste.
"Farewell My Concubine" is a very story-telling film. It takes nearly three hours to tell what happened to a pair of actors that spanned half a century. It tests the cameraman's lens narrative ability. The scheduling of the scene and the scheduling of the characters are perfect. In this film, the focus of the arrangement of the actor’s scheduling form is to maintain the spatial relationship between the actor and his environment, to be perfect in the composition, and to reflect the character of the character. When shooting, the emphasis is on following the character’s specific The logic of actions that must be performed under the environment. In order to make the modeling of the movie image more artistically appealing, when dealing with the movie scene scheduling, more attention is paid to starting from the plot and using various scene scheduling flexibly. This makes the transition of the film appear natural and smooth. After the previous theme ends, the picture quietly turns from bright to dark, from dark to bright, and then tactfully comes out of the next theme. For example: at the beginning of the film, Xiaodouzi's fingers are cut off, Xiaodouzi's face and hands are close-up, and the street appears repeatedly two or three times, combined with the sound "scissors, kitchen knife" and "deep drums".
Filming technical analysis
The in-depth scheduling of this scene has played a lot in the foreshadowing of the fate of the characters. Just as the cameraman’s grasp of the entire film’s lens is practically described in two words: "Jing" and "Lian". "Jing" refers to the cameraman’s eyes. He finds the lens that best conveys his friendship, such as Xiaolou. Rescue Juxian from Huamanlou, and return to the section where Dieyi and Xiaolou were sitting back-to-back in the theater. Let’s not say how wonderful the dialogue is. Just looking at the camera, the two are sitting with their backs facing each other. The angle given by the cameraman is head-up, with a mirror in front of people. This style of setting is more meaningful than the dialogue between two people standing stupidly. "Refining" refers to the cameraman's refinement of the shots one by one. The director finds the right scene and the actors figure out the dialogue, but what the cameraman has to think about is: how to put the angle of the character, and if the camera position is set, whether it is moving or still , In order to be most effective. Another thing worth mentioning is: in the shots of "Farewell My Concubine", there are multiple appearances of character A looking at character B through a mirror. That is to say, the mirror appears many times as a medium of sight in the film. Of course, this must include The director's thoughts, I won't talk much about the use of mirrors in life. What I want to say is that this use secretly corresponds to the saying that "life is like a play, and drama is like life".
The more classic the film, the less it is necessary to pull out the picture montages and analyze them one by one. Its montage thinking should be a whole, existing in the director's mind. In terms of transitions, Xiaodouzi and Xiaoshitou changed from childhood to adolescence. They were chanted by the lake: "Strike the mountains and be overwhelmed by the world..." Transformed by dissolving two pans, representing the transition of time. In addition, when Xiaodouzi and Xiaoshirui changed from teenagers to Cheng Dieyi and Duan Xiaolou, they took photos. The first shot was a photo with the master and the other brothers, and the latter shot was a photo of them who had become Jiaershi. One after another, time and space explain. The front and back shots span several years in one or two seconds. On the one hand, it illustrates the particularity of film and television art, and on the other hand, it also illustrates the deceptive use of montage in film and television.
The editing of the film is clean and neat, and there is no sloppy connection after the end of a paragraph-like story. Instead, it is edited directly or shaken in with a telephoto lens. And the lens processing of the object images in the movie screen makes the symbolism technique more vividly expressed. For example, the screen that the Xiaozizi crashed down when he committed suicide, the picture scroll of Farewell My Concubine when Master Guan narrated the tragedy of the Overlord, the costume that burned in the Taimiao critique, and the distorted face under the light of the fire, all seemed to be suffering and tragic for the future life. Made a ruthless prediction.
The characterization analysis
of the close-ups of the characters’ facial expressions can be described as extremely meticulous and vivid, such as Xiaodouzi’s trance expression of being "washed" after singing the wrong "Sifan"; the firmness of the trial of Cheng Dieyi’s crimes of traitor; the stubbornness of the crime in Xiaosi The surprise and joy when the army sang "Our team is like the sun"; the grief and despair after Juxian was betrayed at the end; these facial close-ups enabled the audience to have a deeper understanding of the inner world of the characters, and also made the characters' characters more portrayed. full.
The dialogue of "Farewell My Concubine" is very refined, and the biggest feature is very Beijing flavor, which shows the Beijing opera and Beijing accent at a glance. The characters in "Farewell My Concubine" have short but emotional dialogue. Of course, dialogue also plays an important role in montage. For example, some lines: "If you want to be distinguished before you, you will suffer from others" (the teacher in Liyuan told Xiaodouzi who has just entered the Xifucheng class), "You really want to be your wife, grandma, and be your mother's glass dream. Go! You have been out of this door and wiped your face... You really have become a beloved person. If you are a wolf or a tiger in this world, you don't recognize you? I tell you, that sister Yao will always It's Yao sister, this is your life" (what the old bustard said to her when Juxian Congliang)... These dialogues also explain the future development of the character to a certain extent. In a Beijing dialect: "Very artistic!" It is this many expressive elements that reflect China's ancient cultural heritage and are a good display of China's ancient culture. One more thing worth mentioning is that at the end of the film, when Dieyi drew out his sword and realized his dream of "one and the end", Xiaolou called Dieyi: "Dieyi..." and then "Xiao" "Beans", the change in appellation also shows Xiaolou's feelings for Dieyi. This passage is very memorable. Regarding the performance of the actors, they are all in place. Leslie Cheung played Yu Ji. The most classic paragraph is nothing more than that, "It is about a lifetime, and a year, a month, a day, and an hour are not counted as a lifetime.
Space background technical analysis
Every scene and every picture in the film is a true portrayal of Chinese society and culture. The director has cleverly linked culture with the living environment of the characters. In the film, we can see the times in different historical stages: street markets, courtyards, ancient city walls, traditional snacks, bird cages, cricket pots, big smoke, etc... These unique Chinese cultural landscapes are appropriately used In the film, even the various shouts in the hutongs are rendered full of life. Of course, the Beijing opera in the film is an indispensable cultural highlight. Therefore, we can say that this is a film with profound Chinese cultural connotations.
In the film's cutscene of Changyin by the lake, the content of the lens space is wider, so that the space originally cramped in the courtyard can be unfolded and the transition of time and space can be completed calmly. The picture shows the four seasons, the lens moves slowly, the color contrast is small, the density is low, and it is soft and less irritating.
In "Farewell My Concubine", in general, the description of "Farewell My Concubine" emphasizes reproducibility in the space environment; however, the thick realistic tones often cover the picture, raising the reproducible spatial composition to a stylized level. . In this film, Chen Kaige has undoubtedly made a big step in the sense of scale in artistic expression. The creation of the overall atmosphere replaced the abruptness of a single shape. Of course, Gu Changwei's photography director also contributed. In the film, the emotions are splattered with heavy ink and color, and the cross-mixing of cold and warm tones pushes the already colorful Peking opera modeling, facial makeup, costumes and movements to the top of the beauty of form.
The sound technology analysis
sound is carefully selected and run-in, otherwise it will make the sound appear very abrupt. It is as important as picture montage. The sound is rhythmic. Use the sound to control the rhythm of the picture to get the best effect. This is the great meaning of sound montage. Here I just want to say one thing: when Xiao Xiaozi and Xiaodouzi returned after escaping, Xiaodouzi saw that Xiaodouzi was beaten badly. At that moment, he was scared, so he quickly ate his delicious candied haws and then committed suicide. That paragraph: The sound of the action sound of Xiao Xiaozi eating sugar candied haws, and the reverberated sound of "knife embryos", suggesting the suicide of Xiao Xiaozi in the next scene. The sound is so clean. Quiet, a moment before death.
The film has two theme music: one is the deep string music, and the other is the percussion music that is very common in Peking opera, which is very charming (I don’t know Peking opera and can’t describe it in detail). There are also times when two pieces of music overlap each other. When general theme music appears, it is when the fate of the protagonist changes. The deep string music hints at the unknown of the protagonist's fate; while the Peking Opera excerpts remind the audience of the grand theme of "life is like a play, and drama is like life". For example, when Xiaodouzi was cut off by his mother and the sixth finger was forced to stay in the theater, the two pieces of music were intertwined, emphasizing Xiaodouzi's involvement in the theater, paving the way for the future influence of his identity as a "actor" on his fate. Another example: when Xiaodouzi and Xiaozizi saw "being a horn-like style" in the theater when they were escaping, the string music played again. This time the music conveyed a message-Xiaodouzi should "make it all by itself". Later, when Dieyi took drugs and made herself indiscriminate, the theme music also rang. Not being able to get a lover, feeling depraved, deeply portrays Dieyi's love for Xiaolou. Later in the Cultural Revolution period: When the Red Guard asked Duan Xiaolou whether he loved Juxian or not, Duan Xiaolou betrayed Juxian because of fear, and he also exposed Dieyi. In that era when they betrayed each other to protect themselves, Duan Xiaolou's behavior directly led to the fate of Dieyi and Juxian: Dieyi was desperate, and Juxian committed suicide. This is another example of a theme music suggesting the fate of a character. There is one last one: at the end of the film, when the long-awaited Dieyi Xiaolou sang "Farewell My Concubine" again, Dieyi had a close-up of her face. The moment before the sword was drawn, the music once again returned to the Peking Opera excerpts-Life as Drama, drama is like life. A beautiful classic. Of course, after Dieyi fell, a faint "Singing the Motherland" appeared in the music (also at the beginning of the film): on the one hand, it corresponds to the time and space narration of the film, on the other hand, the radical melody is a bit ironic, and of course it is more. Most of it is that China has gone all the way, tried and made mistakes, but also believes that the motherland will be better tomorrow.
Throughout the movie, the sound of the erhu and percussion instruments such as gongs and drums in Peking opera are extensively used, making the movie more traditional and the combination of sound effects and pictures is just right: at the beginning of the troupe, the master and apprentice caught the little beans and applauded the teacher. The sound of Peking Opera at the time hinted that Xiaodouzi could no longer change the destiny of his actor; in the stage of Xiaodouzi's robbing, the sound of Peking Opera in front of the stage was not so much the original sound of the story, as it was to show that Duan Xiaolou was difficult to choose. A choice must be made. The dubbing of the hero's end, and Yu Ji's singing voice linger in the ears, but it is not Cheng Dieyi but the voice of his carefully cultivated apprentice Xiaosi, which adds to the contrast between the past and the past and the rendering of the bitter reality. In the scene of the "Tai Miao Fire", heavy percussion music sounded in a patchwork manner, making our hearts suffer the same mental devastation as the protagonist. When Juxian committed suicide, the picture of Juxian hanging in the air was accompanied by the roar of Cheng Duan and the singing of "Listen to grandma telling the revolution...", which made the story absurd, and the lyrics on the radio "It turns out that I am born in the wind and grow in the rain" secretly contains a generalization of Juxian's life, which makes the story feel sad.
The sound effect technology analysis of
the sound effects of this movie is extremely realistic, especially the big scenes in it are like being on the scene. In the post-production of the film, the director Chen Kaige enabled the dubbing of a character in the play, Cheng Dieyi, so that "Farewell My Concubine" completely and accurately reproduced the customs of old Beijing, but the original voice and dubbing of Dieyi on the spot are interspersed. In the whole movie, Xiaodouzi and Xiaoshitou have become horns in adulthood, and their stage names are Cheng Dieyi and Duan Xiaolou respectively. After taking a photo in the photo studio, the brothers took a rickshaw and rushed to the theater to sing. On the way, Dieyi spoke for the first time: the martial artist who led the call was not bad. Soft, thin voice. A layer of goose bumps suddenly formed on his body. Regarding the dubbing, what I am most satisfied with is the scene of criticism. Yang Lixin's hoarse voice performance portrayed Dieyi, who was almost irrational at the time, accurately and almost perfectly. In fact, the original sound of Dieyi in this film sometimes has no lines, such as: Dieyi's laughter when she made up for Yuan, coughing when she heard the cries of candied haws outside the theater, shouts when quitting smoking, and after Juxian killed herself , Dieyi's crazy shouts after running out of the house... There are many live voices like this.
Audio technology analysis
The sound in the film is used a lot, especially the action sound, such as the sound of Master Guan spanking his disciple’s buttocks and the sound of breaking a cup. In fact, there are many sounds of falling things and things falling to the ground in the film. If you pay attention to it, you will notice that there are more such scenes before the Cultural Revolution in the film. arrival. It can be seen that audio is also directly involved in the narrative. In addition, in terms of sound, what is worth taking out is that the sound engineer uses a lot of reverberation in the sound processing, which increases the transparency and layering of the sound. Master Guan repeatedly emphasized a "truth": everyone has his own life. The addition of reverb in the narrative also conveys to the audience the message that "people are very small, and fate will make you happy".
"Farewell My Concubine" uses the powerful combination ability of audiovisual language, the clever cutting of montage thinking, the adjustment of the rhythm of the image and the powerful structure of the photographic composition. The ups and downs of the characters are the theme of the film, and it is portrayed vividly and vividly. Set off against the backdrop of the turbulent era, the movie is full of pride without losing the delicate feelings; and it is the specific people in the specific environment that their destiny is even more awkward! Such a combination of macro and micro has produced a wonderful chemical effect!
Example scene analysis
Take one of the scenes as the filming analysis of the film. This scene summarizes that the famous manager Na Ye from the capital came to Xifu Cheng to choose the opera troupe for Zhang Gonggong, and Xiaodouzi once again sang the wrong words. In order for the troupe to get a chance to perform, the big brother punishes Xiao Douzi who sings the wrong words again with tears in his eyes. Seeing the way the brother is crying, Xiao Douzi finally got over the curve and sang the words right. The little stone fulfilled him, and at the same time he fulfilled himself. Although this scene is a group drama, it mainly talks about the emotional changes of four characters: Xiaodouzi, Big Brother, Naye, Master Guan.
The opening scene, the sports scene, and the narration of the scene environment, in the Xifu Chengke class, the brothers are rehearsing, and they are also doing performances for the sake of the Lord's inspection.
Explaining the plot, Na Ye enters the scene, and through Lord Guan's words, "You are our Xifucheng's food and clothing parents", confesses the importance of Na Ye character's visit this time; the camera moves with the character, the long shots, and the scene scheduling is well grasped.
Still in the long shot of lens 2, the master met Xiaodouzi and became interested in this corner.
Xiaodouzi pleased the master. That master saw God for the first time and became interested, and the plot developed in a positive direction; but the next sentence of the master: asked Xiaodouzi to sing "Sifan" but the good atmosphere was immediately stopped. The brothers were very nervous, the first climax of emotions.
Sure enough, Xiaodouzi sang the wrong song. The camera also swept the big brother who was standing behind Xiaodouzi into the camera, showing the emotional relationship between the characters and the big brother's worry. After realizing that he had sang a wrong song, he was also stunned, and the whole atmosphere dropped to a freezing point.
The atmosphere of the scene turned to a bad development direction, the soundtrack began to be serious and heavy, the master was leaving, and seeing that the hand was about to die, everyone began to be afraid. The front and full face in this shot was given to the big brother, and the main character was him. , The one who felt the most uneasy was him, and his next move to save the situation ambushed him.
Seeing that the opportunity would slip away, the senior brother made an action and grabbed the pipe. For the sake of the survival of the entire Xifucheng class, he began to teach Xiaodouzi. This is the mentality of "hate it without fighting". In fact, it is. Want to divert attention and save opportunities.
The climax of the whole scene frightened everyone in the audience, and also kept the master, and saved the opportunity. The big brother was also helpless. If you don’t do this, the chance of happiness is gone, and the second is Xiaodouzi would be beaten even worse by the master. The master was shocked, and achieved the purpose of staying temporarily, so Master Guan came from his heart.
A close-up shot shows the rapid changes in Xiaodouzi's heart.
After the brother's cigarette was in Xiaodouzi's mouth for a while, he finally saw that there was only such a way forward. The master kept admonishing that since he had chosen to sing, he had to do it all. This "from the end" is also emphasized throughout the film, the character traits of Dieyi's later life. As a result, Xiaodouzi, who was sitting in the chair of the grandmaster in despair before the camera, had nothing but to stand up with demeanor, and sang like flowing water with a smile on his face: "I am a girl Jiao'e, and I am not a man." At this point, Xiaodouzi's gender identification conversion has been completed, which is also an important turning point in the thinking of the characters in the entire film.
This is actually a kind of confusion and thinking about his gender in his spirit for a long time. He looks neutral. His mother is a brothel girl. Xiaodouzi's concept of his own gender is vague, and this move of the brother is making Xiaodouzi Really accepting his identity as a "female Jiao'e" made him a role model. However, it was not because of being forced by the elder brother, but the internal cause of Dieyi's choice drama was established before, and this opportunity allowed him to completely change his mind. Dieyi and Yuji were both "from All ends".
The film summarizes
the Chinese history performed in "Farewell My Concubine" is very dazzling. With the growth of Xiaodouzi, the audience experienced the most chaotic era in modern China. In less than three hours of the film, China has changed ownership several times. The film carefully inserted various plots to let the audience experience the frequent change of power during this period. The film shows that they are all real eras in China. Therefore, the film includes the eunuch Zhang Gonggong of the Qing Dynasty, the era of the Beiyang government, and the civil war between the Kuomintang and the Communist Party. , The establishment of the People’s Republic of China, and the Cultural Revolution. Including people's living conditions and the culture of Peking opera, it is a very good reproduction of those years in China. With the help of the destiny of the characters, we can see the big from the small, and get a glimpse of the prosperity and decline of a country.
"Farewell My Concubine" has a clear narrative framework, that is, learn to play, follow the play, and the final martyrdom, and has a coherent narrative line: the emotional entanglement of Cheng Diyi, Duan Xiaolou, and Juxian is the main line- Reflecting the separation and recombination of Dieyi and Xiaolou, the evolution of history and the Beijing opera "Farewell My Concubine" are two sub-lines.
The lens language of "Farewell My Concubine" is clear and concise, and basically revolves around the story, rather than deliberately creating meaning. The film editing is smooth and regular, and the composition is exquisite; at the same time, there are a large number of moving shots and still shots of different scenes in the film that are used alternately to form a rhythmic effect of releasing and retracting.
The music and sound of the film have also broken away from the heavy meaning, and are mainly used to portray the psychology of the characters, create the atmosphere of the scene, and create the rhythm of the scene. There are more than 40 pieces of music in the whole film, mainly based on national musical instruments such as Huqin, Dizi, and drums. It cleverly combines Peking Opera, Kunqu Opera and various soundtracks to form a desolate and vicissitudes of life that fits the style of the film. . In terms of sound, the film often cleverly refines the realistic sound, effectively creating a sense of space in the scene, and holding up the mood and atmosphere of the entire scene.
"Farewell My Concubine" has gorgeous images, exquisite plot, and extremely rich and profound connotations. The excavation of Chinese culture has a more historical depth. It organically integrates the small stage of the drama with the big stage of life, and ingeniously weaves the artistic voice of the actors in the play with the real life, which not only expands the space for artistic expression, but also gives people many enlightenment and thinking. It not only has a fascinating storyline and a distinctive character image, but also gives full play to the comprehensive performance of the film's sound and picture. It is a popular, high-profile and harmonious masterpiece.
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